保罗·塞尚《查德布凡农场的栗树》（纽约佳士得2014.5）

保罗·塞尚查德布凡农场的栗树纽约佳士得2014.5成交价464.5万美元

作品介绍

查德布凡农场的栗树 Marronniers et ferme du Jas de Bouffan

The Jas de Bouffan, Cézanne's family home near Aix, occupies acentral place in both his life and his art. The sprawling countryestate, which Cézanne's father purchased in 1859, featured a largeItalianate manor house, a sizable garden with an oblong reflectingpool and a formal avenue of stately chestnut trees, and a patchworkof tenant farms and vineyards, totaling thirty-seven acres. It washere that Cézanne undertook some of his very earliest artisticexperiments, decorating the walls of the salon in 1860-1861 with aseries of monumental panels, including a portrait of his father andfour classicizing female figures representing the Seasons. He beganto work outdoors at the Jas in the mid-1860s and continued to do sofor more than two decades. "Appropriating this small domain, withits avenue, its pool, and its towering trees, treating the farmlike a little Mediterranean village and the manor like a chteau, heperfected his art, putting into practice all he had learned inParis," Denis Coutagne has written. "It was there that he meditatedon the experiments conducted in L'Estaque and Gardanne, there thathe received--both literally and figuratively--his father's legacy"(op. cit., 2006, p. 92).

保罗·塞尚查德布凡农场的栗树局部

Marronniers et ferme du Jas de Bouffan was painted around1876, during a difficult period in Cézanne's personal life. InJanuary 1872, his mistress Hortense Fiquet--whose existence Cézannekept a closely guarded secret from his authoritarian father--hadgiven birth to the couple's son Paul. The same summer, the youngfamily settled in Auvers-sur-Oise, where Cézanne worked from naturealongside his mentor Pissarro, adopting the light, varied paletteand loose, broken touch of Impressionism. By 1874, however, Cézannewas eager to return to the Jas de Bouffan. "It would make meextremely happy to work in the Midi, where the scenery offers somany opportunities for my painting," he wrote to his parents(quoted in ibid., p. 84). For the next three years, Cézanne led aperipatetic life, shuttling back and forth between Paris, where hehad installed Hortense and young Paul, and Aix, the only place thathe truly loved. "In Paris he must have been consumed by the desireto get back to the Jas de Bouffan, which offered him so manysubjects, as well as isolation, a world of peace and harmony," JohnRewald has written. "But once there with his parents, hedoubtlessly suffered as much on the account of the separation fromhis son as from his father's domineering character--not to speak ofthe necessity of hiding his liaison" (op. cit., 1996, p.189).

保罗·塞尚查德布凡农场的栗树局部

Cézanne's major figure paintings of the mid- to late1870s--Une Moderne Olympia, L'éternel féminin, and La tentation deSaint Antoine, most notably--all bear the unmistakable imprint ofthe artist's personal ordeals. In the landscapes that he painted atthe Jas de Bouffan, by contrast, he seems to have found a respitefrom his demons. "The artist was clearly struggling with himself,striving to master a new technique that would result in a calmerpainting style," Coutagne has written. "He pursued this endeavorthrough the systematic portrayal of the Jas estate" (op. cit.,2006, p. 85). In the present landscape, we see some of the veryearliest evidence of Cézanne's move away from a purelyImpressionist technique toward a more systematic, structuredapproach to facture, especially in the small, square touches thatdescribe the low wall at the right and the interlocking patches ofparallel, diagonal strokes in the large chestnut tree. Thisevolving technique, Joseph Rishel has explained, "allowed Cézanneto render landscape with remarkable sensuality and specificity,but, unlike the ambitious plein-air paintings of hiscontemporaries, it transformed the transient into somethingclassical, structured, and serene" (Cézanne, exh. cat.,Philadelphia Museum of Art, 1995, p. 217).

保罗·塞尚查德布凡农场的栗树局部

Marronniers et ferme du Jas de Bouffan depicts a corner of thefamily estate in full summer splendor, the trees in exuberant leafand the high southern sky brilliant blue and cloudless. To paintthe scene, Cézanne set up his easel at the very end of the allée ofchestnut trees, looking toward a jostling complex of small, cubicfarm buildings, which are silhouetted against the gently rollinghills in the distance. At the right of composition is the low stonewall that marked the eastern boundary of the estate's innercompound, setting it apart from the vineyards and fields beyond.The manor house itself lies to the left of the farm buildings, itscream-colored walls and blue shutters just barely visible throughthe dense foliage of the majestic tree in the foreground. Struck bythe contrast between the strict geometry of the buildings and thelively tangle of vegetation which partially screens them, Cézannereturned to this view during the mid-1880s, painting at least fivecanvases from approximately the same vantage point (Rewald, nos.538, 567, 595-596, 611; figs. 1-2; also Pushkin State Museum,Moscow, and Barnes Foundation, Philadelphia).

保罗·塞尚查德布凡农场的栗树局部

Despite its apparent bucolic calm, however, the presentlandscape is not without signs of struggle. "The compositionharbors intimations of anxiety and thwarted release," Rishel haswritten about a closely related scene. "Walls and paths strikestrong directions only to have their trajectories countered byothers--tree trunks or corners of buildings--intersecting at rightangles, a compositional device that frustrates conventionalperspectival resolution. Nothing is seen whole, especially the farmbuildings, which in a less ambitious picture would have been theunambiguous subject. The overall shape of these structures must bepieced together from fragments" (ibid., p. 268).

Equally striking is the way that Cézanne has hidden the mainhouse of the Jas de Bouffan--no doubt a potent symbol for theartist, suffused with his father's presence--behind the trees,allowing the viewer only tantalizing glimpses of the structure. "Itis as if the painter were simultaneously pointing to it andconcealing it, deliberately obscuring what might be shown, as if toemphasize that it is through absence that we truly see," Coutagnehas written (op. cit., 2006, p. 86). Indeed, it would not be untilafter his father's death in 1886 that Cézanne would finally depictthe main faade of the manor house in all its sunlit glory, asthough he were taking symbolic possession of the family home(Rewald, no. 600; fig. 3). "His work at the Jas would thus be likea biblical narrative, a tale about the acceptance of a paternallegacy, not as a prodigal son, but as the eldest son to whom thefather had said: 'All that is mine is yours'" (ibid., p. 87).

保罗·塞尚查德布凡农场的栗树局部

Along with its formal virtuosity and emotional resonance,Marronniers et ferme du Jas de Bouffan has an exceptionallyimportant history. Its first owner was Victor Chocquet, anenergetic champion of Impressionism and the earliest consistentbuyer of Cézanne's work. A customs clerk of modest means, Chocquetnevertheless was able to amass a remarkable collection of paintingsand drawings during the second half of the nineteenth century,including at least thirty-five works by Cézanne. Monet describedChocquet as the only individual that he had ever met "who trulyloved painting with a passion," and Renoir called him "the greatestFrench collector since the kings, perhaps of the world since thePopes!" (quoted in J. Rewald, op. cit., 1996, p. 194). Cézanne madesix oil portraits and numerous drawings of the dedicated andinsightful Chocquet between their first meeting in 1875 and thecollector's death in 1891; outside his circle of childhoodcompanions and Impressionist colleagues, Chocquet was arguablyCézanne's closest friend (Rewald, nos. 292, 296-297, 460-461, 671;fig. 4).

保罗·塞尚查德布凡农场的栗树局部

The present landscape is believed to be one of sixteenpaintings that Cézanne contributed to the Third ImpressionistExhibition in 1877. The painting is signed in red, a feature thatRewald and Theodore Reff both associate with inclusion in thislandmark exhibition. Chocquet always insisted that Cézanne sign theworks that he purchased from him, and Rewald has proposed that theartist may have asked the collector for assistance in selecting theworks to be shown--a corpus of considerable variety, which aptlysummed up Cézanne's potent originality and growing importance as apainter of landscape, figures, and still-life alike. "The choiceonce made, Chocquet, according to habit, may have advised hisfriend to sign the canvases selected, and this was done then andthere, the same red color being used throughout" (ibid., p.178).

Chocquet's fierce devotion to Cézanne and his colleagues didnot stop there. Having resigned his customs post earlier in 1877,Chocquet was able to spend virtually all his time at theImpressionist Exhibition, challenging anyone who derided the workon view. The critic Georges Rivière later recalled, "He wassomething to see, standing up to hostile crowds at the exhibitionduring the first years of Impressionism. He accosted those wholaughed, making them ashamed of their unkind comments, lashing themwith ironic remarks. Hardly had he left one group before he wouldbe found, farther along, leading a reluctant connoisseur, almost byforce, up to canvases by Renoir, Monet, or Cézanne, doing hisutmost to make the man share his admiration for these reviledartists" (quoted in A. Distel, Impressionism: The First Collectors,New York, 1990, p. 137).

保罗·塞尚查德布凡农场的栗树局部

Chocquet died in 1891, just a year after he had commissionedCézanne to paint a group of decorative panels for his new home onthe Rue Monsigny in Paris (Rewald, nos. 643-644). When his wifepassed away eight years later, Chocquet's collection was dispersedat public auction at the Galerie Georges Petit. The announcement ofthe sale generated a good deal of excitement. "Great artistic eventin view," Pissarro wrote to his son. "Père Chocquet as well as hiswife having died, his collection is going to be sold at auction.There are thirty-two first-rate Cézannes, which will sell for highprices" (quoted in ibid., p. 128). As Pissarro had predicted, thesale was an enormous success. Auction receipts totaled over 450,000francs, with unprecedented prices achieved for Cézanne's work inparticular. The present landscape sold for 1000 francs to AmbroiseVollard, who had given Cézanne his first one-man show four yearsearlier, catapulting him out of relative obscurity and securing hisstatus as a modern master.

保罗·塞尚查德布凡农场的栗树局部

Cézanne on the way to his motif, circa 1874. BARCODE:28863298

(fig. 1) Paul Cézanne, Marronniers et ferme du Jas de Bouffan,circa 1887. Museum of Art, Rhode Island School of Design,Providence. BARCODE:

(fig. 2) Paul Cézanne, Marronniers et ferme du Jas de Bouffan,circa 1884. Norton Simon Museum, Pasadena. BARCODE: 28863304

(fig. 3) Paul Cézanne, Maison et ferme du Jas de Bouffan,circa 1887. Narodni Galerie, Prague. BARCODE: 28863311

(fig. 4) Paul Cézanne, Portrait de Victor Chocquet assis,1877. Columbus Museum of Art, Ohio. BARCODE: 28863328

作品资料

作者保罗·塞尚（1839～1906）

尺寸 51×65cm

作品分类西画雕塑>油画

创作年代约1876年作

估价 USD 　4,000,000-6,000,000

成交价 RMB 　28,747,905 USD　4,645,000

专场埃德加·布朗夫曼家族珍藏

拍卖时间 2014-05-06

拍卖公司佳士得纽约有限公司

拍卖会 2014年5月印象派及现代艺术晚间拍卖

签名：P. Cezanne-（左下）

说明重要私人珍藏

來源

Victor Chocquet, Paris; sale, Galerie Georges Petit, Paris, 1July 1899, lot 7.

Ambroise Vollard, Paris (acquired at the above sale).

Jos Hessel, Paris (acquired from the above, 2 February1900).

C. Thomsen, Hamburg.

Paul Cassirer, Berlin.

Christian Tetzen-Lund, Copenhagen (by 1917).

Alfred Cassirer, Berlin (by 1930).

Oskar Federer, Moravská Ostrava and Montreal (by 1936).

Mme Lilli Lippmann-Wulf, New York.

M. Knoedler & Co., Inc., New York (1945).

Thomas L. Daniels, St. Paul (March 1945).

Mr. and Mrs. David Rockefeller, New York (1950-1957).

Wildenstein Galleries, New York.

Florence J. Gould, New York (acquired from the above, 1958);Estate sale, Sotheby's, New York, 24 April 1985, lot 34.

Acquired at the above sale by family of the presentowner.

展览历史

Paris, 6, rue le Peletier, Troisième Exposition desImpressionnistes, 1877, possibly no. 22, 23, 24 or 25 (titledPaysage. Etude d'après nature).

(possibly) Stockholm, Nationalmuseum, Fransk konst,March-April 1917, p. 43, no. 8 (titled Paysage).

Amsterdam, Stedelijk Museum, Honderd jaar Fransche kunst,July-September 1938, p. 38, no. 24a.

New York, Paul Rosenberg & Co., Loan Exhibition ofPaintings by Cézanne for the Benefit of Fighting France,November-December 1942, p. 23, no. 7 (illustrated, p. 47; dated1885-1887).

Minneapolis Institute of Arts, 1946.

Tokyo, Musée National d'Art Occidental; Musée de la Ville deKyoto and Fukuoka, Centre Culturel, Exposition Cézanne,March-August 1974, no. 11 (illustrated).